It is therefore a two-handed work: one physical, which draws, cuts, and physically assembles the piece, and one spiritual, guided by the client’s story and ‘felt and translated’ by me.

From the embrace of these two hands emerges a work complete with forms and emotions.

Each piece is unique, shaped by the person commissioning it and the disharmony they carry. Once placed in the client’s environment, the artwork can restore lost harmony through lines drawn from sacred geometry, whose power is amplified by the stones.

We are usually accustomed to seeing images of Mandalas (sacred geometric designs of the cosmos and universe) with individual stones added to represent the positions of the Chakras (the body’s energy centers) and their associated colors. But in these works, something completely new emerges: every form is entirely filled with crystals, made tiny and detailed to describe each flower, branch, and line.

I have been searching for the precise term to describe this technique, which I call the ‘Soul Mosaic,’ even though it differs from the classical mosaic we know. In this technique, the stones are carefully selected (purged of waste and imperfections) and applied to a wooden support (marine plywood, resistant to warping) using vinyl adhesives that fill the pencil-outlined design in a kind of ‘inlay’. This is achieved solely through the sensitivity of the hand, which perceives the differences in cut and shape, arranging the stones like a puzzle. The minerals can also be chosen by the client, keeping in mind that some stones are more expensive than others, and prices may fluctuate over time according to market trends.

The works are inspired both by visions and by people (as mentioned above), and Marina only needs to observe to intuitively restore the sacred lines of each inner design within us